


Sleepy Hollow: Season One Remix

by irishlullaby13



Category: Sleepy Hollow (TV)
Genre: Alternate Universe - Canon Divergence, Complete and total rewrite of canon, Loosely Follows Canon, Multi, Mythology References, Screenplay/Script Format, fuck canon in particular, like VERY loosely, loosely follows my heroes and villains plotline
Language: English
Status: In-Progress
Published: 2019-08-04
Updated: 2019-10-02
Packaged: 2020-07-31 03:02:58
Rating: Teen And Up Audiences
Warnings: Graphic Depictions Of Violence, Major Character Death
Chapters: 2
Words: 19,322
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/20108110
Author URL: https://archiveofourown.org/users/irishlullaby13/pseuds/irishlullaby13
Summary: What if Sleepy Hollow was just completely rewritten from episode one? Like the basic concept is still there but it's different.





	1. Episode 1: Pilot

**Author's Note:**

> First of all... how badly does a show have to fuck up for someone to want to just completely rewrite it?  
Second of all, this is done with the idea of an unlimited budget which means my guest star list will sometimes be a little "out there" also there will be a noticeable soundtrack beyond things that are available royalty-free.  
Third, it takes into consideration that it would be on a channel/platform that would be okay with some nudity and/or sexual content which means, more butts! :D  
Lastly, I can think of several people that would be much more talented at this but please understand this is a labour of love and hate. Love of our tiny fandom. Hate of TPTB that decided to ruin a good thing. All I ask is that if you somehow, magically, make it to the end of this let me know what you think. Even if it's just a gif link because you can't put it into words.
> 
> Each chapter will be an episode. So I'm aiming for approximately 12-13 chapters. I read that a 60 minute script is usually around 60 pages. This is not 60 pages. Because I crammed as much stuff as possible into each page, I'm sure it goes beyond the typical "one minute per page" standard. Also, it's done in a vague script format with small bits of sarcasm thrown in from time to time. I honestly tried writing it as story format but I just couldn't get it to work, hence the script format.
> 
> This will work in a lot of elements from my Heroes and Villains fic series. If something seems familiar it was either from that series or from the actual show canon. And I think that's all the notes I have for now. Hopefully y'all enjoy this. If you don't, just know I will be a dramatic bitch and cry.

CAST  
ABBIE MILLS...Nicole Beharie  
ANDY BROOKS…John Cho  
LUKE MORALES…Nicholas Gonzalez  
AUGUST CORBIN...Clancy Brown  
ICHABOD CRANE…Tom Mison  
REVEREND KNAPP/SELAPHIEL … Patrick Gorman  
MICHAEL … Yetide Badaki  
LATISHA OUCHI-JACKSON … Leslie Jones

**ACT 1**

**Opening:** Darkness. A vast nothing. Soft, heavenly music in background. 

VOICE: In the beginning, there was Light. [A bright light explodes out of the darkness. It is beautiful and brilliant.] Or so we've all been told.

There is the sound of an alarm and the light retracts until it's dark once again. Upbeat music begins to play “Dance Apocalyptic” by Janelle Monae. Scene zooms out and suddenly we're faced by the face of a black woman, early 30s. She is laying in bed, her eyes are completely black [the music sounds far away, as if played in another room]. The woman is ABBIE MILLS . Its just before dawn.

She closes her eyes. The music goes back to normal when she opens her eyes, now normal brown eyes. She frowns and hits her alarm clock before rolling over, noticeably groaning before she starts pouting and kicking her feet under the covers.

ABBIE stares up at the ceiling for a moment then sighs heavily before crawling out of bed. Song continues as ABBIE goes about starting her day--starting her shower, donning her sheriff's department uniform, pouring a shitton of sugar into her coffee. She sips the coffee, pulls a face, then pours it out. She then makes a cup of black unsweetened coffee, sips and smiles, before grabbing her keys.

Scene goes to in her Jeep, the song is playing on the radio. ABBIE taps the wheel and hums along as she waits for the light to change. Her phone starts ringing, cutting the music off. The display says it's LUKE. She purses her lips, hits reject, then the music comes back on.

The song fades as she pulls into _Sleepy Hollow Sheriff's Department_ and parks. She picks up her phone, looks at the “missed” call. She stares at the phone for a moment then she squenches her face as she has flashes of memories, it shows modern Abbie looking more and more distressed between each memory:

Her and her sister, as young girls in the woods. 

Four barren, white trees.

A creature standing in front of the trees.

ABBIE let's out a soft sobbing noise and shakes her head to clear it. She gets out of her Jeep, pocketing her phone. 

**Inside Sheriff's Department… **ABBIE enters and looks around. She spots two men near the coffee pot, talking. The men are LUKE MORALES and ANDY BROOKS. While their attention is elsewhere, she hurries across the station heading toward an open door that says SHERIFF AUGUST CORBIN.

LUKE [just as ABBIE is almost to the door] Hey, Abs…

Abbie closes her eyes and mouths “fuck” as Luke approaches her from behind. Just as she's about to turn, an older man AUGUST CORBIN opens the door to his office.

CORBIN: Mills, a word in my office please?

ABBIE: [giving CORBIN a thankful look] Sure thing boss. [She shoots LUKE an apologetic glance as she enters Sheriff Corbin's office and closes the door] You're a lifesaver.

CORBIN: You could just tell him you're not interested.

ABBIE: [scoffs] You've obviously never been a five foot three black woman trying to gently let down the office egomaniac.

CORBIN: [nods in affirmation] Fair point. I take it you want to volunteer to do patrol with me? So you can put off letting Luke down gently.

ABBIE: You read my mind.

CORBIN: And since when are you five foot three? [ABBIE gives him a flat look, he chuckles] Just two more weeks of evading him and you won't have to worry about it anymore.

ABBIE: [rolls her eyes and groans] Don't remind me. Even more of a reason to look forward to it. 

CORBIN: [glances at something past ABBIE] He's on a call if you want to make a run for it now. You owe me a coffee for this by the way. At Mabie's. Not one of those monstrosities from Starbucks.

ABBIE: I will even throw in an apple pie ala mode.

CORBIN: Far be it from me to turn down some apple pie… let's get out of here kid.

They exit the Sheriff's Office. LUKE is noticeably trying to rush the person off the phone. He waves a hand trying to get ABBIE'S attention, but her and CORBIN are on a mission: avoiding LUKE. So they breeze on past as if they don't notice him and exit the Sheriff's Department. 

LUKE finally gets the caller off the line and hurries after them. By the time he makes it outside, a police cruiser containing ABBIE and CORBIN are quickly pulling off. A vinyl sign that advertises "Experience the History of Sleepy Hollow! Contact the Hudson Valley Historical Society for tour details" with what appears to be a war reenactment scene flutters in the breeze as LUKE stands there a moment, hands on his sides. He sighs and goes back inside.

-End Scene-

**ACT 2: **

_1781\. Battlefield. Hudson Valley. _

Blue and red coats alike are battling it out. Scene focuses in on one blue coat soldier, ICHABOD CRANE, as he fires his musket from behind a tree. He is very obviously terrified, but who wouldn't be in his situation? He drops the musket and takes aim with a pistol. He fires then afterwards, starts checking the hands of fallen red coats.

BLUECOAT1: [pointing at something behind ICHABOD] Rider!

ICHABOD turns to see a red coat on a white horse coming onto the battlefield. The red coat wears a mask, hiding his face. ICHABOD thinks quick and shoots the rider in the chest. RIDER falls off his horse but then gets right back up. The expression on ICHABOD'S face is the embodiment of "shit shit shit shit…" but he stands his ground, ready to fight. 

Before ICHABOD can make a move to attack, RIDER cuts him across his chest with an ax. The moment the blade touches him, for a moment his eyes glow a bright, brilliant blue. He falls to his knees and stares up at RIDER in almost disbelief. RIDER raises his ax again. ICHABOD draws his sword. 

A single pulse of white light seems to radiate from ICHABOD. Scene pans around to various fighters stopping to turn toward him--some look stunned, some awed--as his sword begins to glow red, as if hot. He lunges to his feet and decapitates RIDER with one blow.

There is a burst of light. When it fades, RIDER falls to the ground, headless. ICHABOD seems dazed and bewildered. But then he too collapses to the ground.

Right about now you're probably wondering if I'm going to keep the whole "mingling of their blood" scene. I'm not. Because that's not how blood binding fucking works. But we'll get to that later.

Scene fades to black. Muffled voices can be heard. 

OLDER MANS VOICE: --too soon. I told them he was not ready. No matter what the prophecies say… he wasn't ready.

Scene begins to fade in. Everything is blurred but well lit, figures can be made out through the haze. 

WOMANS VOICE: Ichabod, my love, can you hear me?

Scene shows ICHABOD, lain on a cot, eyes wide as he looks around in confusion, mouth open as he gasps for breath. An older man--REVEREND KNAPP--puts his hand on the nurse's shoulder. 

KNAPP: We have to hurry Mrs Crane. We don't have much time. We have to act quickly.

The nurse, KATRINA CRANE, sniffles gently as KNAPP hands her a cup. She nods and puts the cup to ICHABOD'S lips, tilting it carefully.

KATRINA: Drink, my love. Perhaps we will see each other again someday. There are so many things I wish I could tell you right now...

ICHABOD stares at KATRINA as if he is trying to say something but can't. He swallows hard a few times, takes ragged breath, and his eyes roll back as he falls unconscious. KATRINA gently lays him on the cot. She covers her mouth to suppress a sob, her hand resting on her belly.

KNAPP: His wound needs to be mended before… what comes next.

KATRINA: [she nods] Will he be aware of what's happening before he awakens again?

KNAPP: We do not know. But you cannot dwell, Katrina. He was never meant to truly be yours. You were warned to not get too attached. 

KATRINA cups ICHABOD'S cheek as she nods again.

KATRINA: It would have been better if he hadn't been so easy to love.

KNAPP: Come. There are things to get done.

KATRINA pulls a sheet over ICHABOD and the scene fades to black again.

In the darkness, chains can be heard rattling. Jars are heard shattering. Water can be heard gently flowing. A soft, but masculine groan cuts through the noise, followed by the gentle whisper of shifting rocks.

When scene fades in, its focused on a patch of damp soil in an underground tunnel. View pans around to show sigils writ on the walls, jars form a large circle around the centre of the space. Light filters in through a small gap in the wall. The amount of light indicates it is early morning, just before dawn. It's not a coincidence, it's the same exact morning from the cold open.

The jars begin to rattle then shatter, releasing various creatures: frogs, insects, worms, all other types of extraneous creepy crawlies. The soil in the centre of the circle bows and cracks. After a moment, a hand breaks through the soil. ICHABOD slowly clamors from the shallow grave, gasping for breath as he sits up and looks around.

He grasps his chest and looks down at bandaging that is falling loose around his body. He runs a finger over the scar then pulls his coat tighter around his body, shivering as he collects his bearings. His lips move as he makes a soft noise, as if trying to speak.

He climbs to his feet, still holding his coat closed and staggers up some stone steps, leaning against the wall for support. He stumbles and falls as he makes it outside. Everything around him seems to tilt and spin. He's disoriented. He lays on his back, staring up at the sky. He focuses on a solitary star glimmering in the morning sky.

The view pans back to ICHABOD. His eyes are pure white and he seems to struggle for breath. His entire body begins to convulse then goes still.

ICHABOD: [quietly, voice quivering] In… In the beginning… There was… there was... Darkness.

He gasps loudly, eyes returning to normal as he rolls onto his side, curling up tightly as he groans in pain. He gives several more struggled breaths before sitting up and looking around. He staggers to his feet and walks through the misty forest.

WOMAN'S VOICE, as though speaking from another realm: Ichabod Crane. [He spins around and looks around frantically] Ichabod! [He turns again] 

ICHABOD: Who said that? [Voice trembling] Is anyone there 

He spots a cloaked, shadowy figure in the distance and starts moving toward them.

ICHABOD: Pardon me, but… 

WOMAN'S VOICE: This way Ichabod Crane. [The shadowy figure lifts their hand to point and disappears in a mist of grey.]

ICHABOD stops and blinks at where the figure had been. He looks in the direction the figure pointed, swallows hard, then moves in that direction, disappearing into the mist.

Scene changes to the streets of Sleepy Hollow. CORBIN is sitting in the police car, behind the wheel, watching ABBIE as she speaks to a driver they have pulled over. CORBIN clearly has something heavy on his mind, but smiles and shakes his head when Abbie puts away her ticket book and he sees her shake the person's hand.

ABBIE returns to the cruiser and gets in the passenger side. 

CORBIN: No ticket?

ABBIE: [shakes her head] They were lost, trying to find 295, and didn't see the speed limit sign. I told them how to get to the interstate and wished them a good day.

AUGUST: [nods] Honest mistake. It happens. You know, you'd make a good sheriff when I retire. 

ABBIE: [laughs] Don't you even start…

CORBIN: But unfortunately, you're running away from us…

ABBIE: [shakes her head, still laughing] I said don't start… [her phone rings, she looks at it, it says LUKE is calling, she groans] Can you… Can you tell him I'm making a stop?

CORBIN: Grace Abigail Mills… [he takes the phone] Make that two cups of coffee… [answers the call] What's up, Morales, Mills is in the middle of a stop. [Nods] Sure, I'll tell her to call you. Is everything okay with the two of you? [ABBIE gives CORBIN a wide eyed Mind Your Business Old Man look] Huh. Really? Been avoiding you and you can't figure out why… Well, son, maybe you should take that as a hint to back off a little. She's got a bunch on her plate right now. But I'll let her know you called. [Nods again then hangs up and hands the phone over to ABBIE] Hey Mills, Morales called. He suspects you're avoiding him. He’s worried about you.

ABBIE: I don't mean to avoid him, it's just… 

CORBIN: He can be a bit much, I get it. He's been aiming for more and you don't want more. Not right now.

ABBIE: Exactly. I just don't know how to tell him. 

CORBIN: You could start by actually talking to him.

ABBIE: [half hearted] I will I will…

CORBIN: Would you feel better if was there with you when you do?

ABBIE: Oh my God no! But thanks for the offer dad.

AUGUST: [chuckles] Let's grab some lunch and coffee.

ABBIE: You're gonna turn into a cup of coffee if you're not careful. Didn't you say Reverend Knapp called you about needing to speak to you?

CORBIN: Lunch and coffee first. You know how Knapp can be when he calls me for a chat about those hooligans that mess up the church.

A short while later, ABBIE and CORBIN are walking up to an old church. CORBIN is sipping on a coffee as they walk up the sidewalk to the doors. CORBIN grumbles under his breath as they reach the door. He turns up his cup to finish off his coffee then throws the cup in the trash.

ABBIE: I don't want to hear you lecture me on talking to Luke for the rest of the day. Not when you've been whining about talking to Knapp.

CORBIN: This is different, Mills, Knapp will keep us here for at least an hour. It's you I'm concerned about. I don't want you to get bored.

ABBIE: I won't get bored. I'll poke around and see if I can find where these kids keep getting in.

CORBIN tosses his cup in a trashcan and they go into the church. ABBIE wanders off toward the altar while CORBIN goes over to REVEREND KNAPP. It's the same man from the infirmary scene. He doesn't seem to have aged a single day. KNAPP nods firmly at CORBIN and leads him to an office.

KNAPP looks out at ABBIE then looks at CORBIN. 

KNAPP: Still nothing? Not even the smallest indication? [Shuts the door]

CORBIN: Not that she's mentioned. She shows up well rested for work. 

KNAPP: This isn't good. I felt it this morning, August. He's awake. They _both_ are. You know what this means… Don't you?

Scene goes to ABBIE poking around near the altar. KNAPP and CORBIN'S are voice overs as she tilts her head and notices a door behind a curtain. Soft, feminine, intelligible whispers can be heard as ABBIE approaches.

CORBIN: I know exactly what it means, Knapp. You've been telling me since I was a kid…

ABBIE pushes the curtain aside then carefully opens the door. A warm orange glow is cast over her face. The whispers seem to grow louder it can finally be understood. It's whispering "My Lady, My Goddess… Save me."

KNAPP: If he has awakened, that means she is in danger… She needs to know who she is. She needs to know what she is.

Scene pans around to show a candlelit altar. On the altar is artwork of a multi-armed, black Goddess with a sword in one hand and a severed head in a cage in another, The Goddess is standing with one foot upon a headless corpse. Pans back to ABBIE. Her eyes have gone black again as she steps toward the altar. There is a knife on the altar, surrounded by candles. The knife has a handle made of an old time-darkened jawbone and dark grey blade that looks recently sharpened and polished but isn't metal--possibly stone or bone as well.

CORBIN: I'll tell her. She's not going to like it and she probably won't believe me. I don't want to believe it. Hell, when I was a kid I thought you were just an old kook.

Scene goes back to CORBIN and KNAPP. CORBIN is seated at a desk, KNAPP is standing on the other side, hands on the desk. He looks terrified.

KNAPP: The fate of the world depends on it, August. I've already spoken to Michael… They, too, feel it in their bones that the time is coming near.

CORBIN: Michael? 

KNAPP: Michael. They have given me Her dagger. The blood of Abel calls to Her when time draws near...

Scene goes back to ABBIE as she carefully picks up the knife. The knife glows orange, as if hot, in her hands.

KNAPP: If Abbie can hear it call to her… then you know what it means…

The whispers get louder until it sounds like a desperate cry for help. ABBIE closes her eyes. There are quick flashes of different scenes: two small children, chasing after each other, laughing; ABBIE sitting on a grassy hill with a flower crown on her head smiling as she watches them play; two adults, a man and a woman, the woman is lying a basket of grain and vegetables at ABBIE'S feet, the man presents a slaughtered lamb, ABBIE recoils slightly at the sight of the lamb but gives the man a forced smile and nods before looking at the woman adoringly and picking up her basket; the man approaching the woman with the knife in his hand as she tends to her garden.

Scene shows ABBIE in the hidden room, her eyes are squeezed shut tight as a distant, cheerful voice says, "Good morning, brother…" followed by a horrified scream, followed by ABBIE'S own voice curiously asking "Where is Abel, Cain?" 

CORBIN'S VOICE, echoing through the church: Mills?

ABBIE shakes her head. The knife stops glowing and she shoves it in the back of her trousers, under her coat. Her eyes go back to normal, she frowns at the altar and walks out of the hidden room. KNAPP and CORBIN are walking toward the main altar as ABBIE steps from behind the curtain.

ABBIE: I couldn't find anything, Sheriff. [eyes KNAPP almost suspiciously] Unless the kids are coming in through the entrance and you just can't hear them.

CORBIN: Turns out it wasn't kids this time. [Chuckles and slaps KNAPP on the back] apparently one of the church ladies had some cute puppies coming up on bring ready for homes. He thought we might want one or two for the department.

ABBIE: We can't afford to train K9 units, Sheriff!

CORBIN: That's what I said but, I am going to talk to Joe, he might need a pup when he gets back from Afghanistan. [Looks at KNAPP] You know how hard war can be on a person…

KNAPP: [nods] But sometimes it's necessary. All we can do is pray for the best outcome.

ABBIE: [snorts] Yeah it's necessary to send kids barely out of school to a war zone over oil prices…

CORBIN: Let's get out of here, kid. We still got to man the school zone in a couple hours. [Nods toward the doors] See ya around Knapp.

KNAPP nods curtly and watches ABBIE and CORBIN leave. He looks toward the hidden room then walks over and looks around cautiously before slipping into the room. He carefully approaches the altar, the knife now gone. He closes his eyes and holds back a sob before falling to his knees before the altar.

KNAPP: [softly] Praise be given to The Darkness, for our Goddess lives… [he bows low] My service will always be unto You my Lady. 

The scene pulls back from KNAPP bowing in front of the altar. When he and the altar are in full view, golden wings slowly unfurl from his back and go into a resting position as he murmurs his benediction over and over.

Scene goes to ABBIE and CORBIN as they make it back to the cruiser.

ABBIE: I still don't see why he can't come and talk to you at the office when it's stuff like this… 

CORBIN: He's an old man, Mills, give him a break…

ABBIE: We got time to stop by Starbucks before heading to the school? [CORBIN pulls a face] Hey, you like your coffee, I like my caramel frappuccino.

CORBIN: We have time, but only if we go through the drive thru. I'll even pay.

ABBIE: Fine by me…

They get into the cruiser and drive off.

-End Scene-

**ACT 3:**

Scene opens in the forest, it appears to be very late afternoon, early evening…

Feet can be heard shifting through leaves accompanied by laboured breathing. Scene focuses in on leather booted feet as they drag across the ground. Fog is beginning to come in. Scene pans to a distant view of ICHABOD CRANE staggering through the forest. 

WOMAN'S VOICE, as if far away: Ichabod Crane… [he looks around desperately]

ICHABOD: Who said that? [Whirls around looking for the source of the voice] Please, if you're there, I… I could use some help…

WOMAN'S VOICE, loud and clear: I'm right here.

ICHABOD spins around to face a woman in a vibrant green hooded cloak. The hood hides most of her face but, now that she is close enough to see, she is obviously a black woman. He eyes her curiously. 

ICHABOD: Do I know you?

WOMAN: Not yet in this life. [She points ominously behind ICHABOD] A path to town lies not too far that way. But you mustn't tarry, the Hessian soon rises from his daylight slumber.

ICHABOD stares at her a long moment then starts in the direction she pointed. It's not long before he emerges from the forest, next to a battered paved road. The expression on his face becomes one of uncertainty… he's never seen a road quite like this before. His curiosity gets the better of him and ICHABOD tentatively approaches the road, kneeling down to touch it, finding it solid. He lightly traces the yellow line before looking up. 

He looks right then left before clamoring to his feet, his eyes on something to the left. ICHABOD moves to step out onto the road. A loud diesel horn blows, he jumps back just in time to avoid being run over. His eyes are now wide, jaw hanging slack. He has no idea what that was but he has no desire to be trampled by one.

ICHABOD shivers and wraps his coat around himself a little tighter before heading toward the left, the same direction as the odd contraption. A smile tugs at the corner of his mouth and he begins to limp/run down the road, taking care to remain on the shoulder as the mist grows thicker.

He ducks underneath a battered road sign on the shoulder that reads: SLEEPY HOLLOW 3 MILES. 

Scene slowly pans over the darkening forest, thunder rumbles gently in the distance as the trees pass more quickly below. The scene begins to draw in on The Hudson River, speeding forward until it reaches the tranquil river bank underneath a bridge.

After a moment the water begins to bubble, slowly at first then more rapidly, as if something is floating to the surface. Soon a wooden casket breaks the surface, it is wrapped with heavy chains and locked.

The chains rattle as something hits hard from inside the casket. Another hard knock. And another. The wood cracks as blow after blow hits. A fiat punches through the side and the casket sinks below the water again as water rushes in. The water rolls and bubbles as though something is moving beneath the surface.

Pans back as the water begins to bubble again, the bubbles moving closer to the bank until the HEADLESS strides out, the chains wrapped around him, axe strapped to his back. Once he stands upon the bank, he tugs and snatches at the chains until they fall uselessly to the ground. Dark, ominous music plays as he trudges up a dirt path that leads to the road, next to a wooden sign that says "WELCOME TO SLEEPY HOLLOW" in elaborate lettering. He turns toward the road leading to SH, as if contemplating going that direction.

HEADLESS then turns his body toward the old covered bridge. Thunder rumbles and lightning flashes, illuminating a barn on the other side of the river. He stomps across the bridge as horses can be heard neighing in the distance.

Scene changes to a cozy mom and pop type diner. ABBIE and CORBIN are sitting in a booth, laughing. ABBIE is nibbling on Apple Pie ala mode while CORBIN has a burger and fries in front of him. CORBIN is looking at ABBIE like a proud papa as she finishes regaling him with a story.

ABBIE: … mama worked on getting all the gum out of Jenny's hair for two days [she reaches over and steals a French fry off CORBIN'S plate, CORBIN looks between his plate and ABBIE'S hand] before just giving up and cutting her hair. [She eats the fry]

CORBIN: I think it's a real shame you and your sister barely talk… [ABBIE shrugs] 

CORBIN shifts in his seat and peers at ABBIE. 

CORBIN: I wasn't joking earlier when I said you would make an excellent sheriff when I retire. If you stayed here you could work on repairing your relationship with your sister, you know. 

ABBIE reaches across the table and puts both her hands on one of CORBIN'S. 

ABBIE: I know you think I'm just trying to run away… 

CORBIN: I don't think you are, Abbie. I know you are. You shouldn't be ashamed to admit it. You have plenty to want to run from… Or do you forget the day I had to come pick you and Jenny up from Old Man Oglesby's farm because he found y'all wandering in the woods near his house… lost and scared.

ABBIE looks at CORBIN like a sad little girl that's been caught in a lie.

CORBIN: What about that day your boyfriend left you to take the fall for his crime? You have plenty to be running from Abigail. But what if… what if your purpose is to be here in Sleepy Hollow? What if you're meant to reconnect with Jenny and fight the demons that have been following you?

ABBIE sucks in a deep breath. She stares down at her pie. There are various flashes of young ABBIE and young JENNY with their bikes in the woods. It's the same images from earlier when she arrived at the station. She looks at CORBIN. There’s no way he can know she’s wanting to run away from a literal demon...

ABBIE: I'd be a lot better at it if I had FBI training.

CORBIN gazes at her for a moment then scoffs and shakes his head. 

CORBIN: You are a stubborn woman. [ABBIE smirks and steals another fry] And you're also a fry thief!

STATICY VOICE: [from their police radios] We just had a call from Mister Oglesby. He said he saw someone entering his barn…

CORBIN looks at ABBIE as if silently asking her if she wants to take the call. ABBIE holds down her talk button.

ABBIE: The Sheriff and I will get right on it. It's probably just one of his grandkids making sure the weather isn’t scaring the horses…

CORBIN: [waves to an older woman behind the counter] We'll be back to pay Mabie.

MABIE: Sure thing August. You and Abbie be safe out there.

ABBIE gives CORBIN a look as they leave the diner. 

ABBIE: [Mimicking Mabie] Be safe out there, August.

CORBIN: [innocently] What?

ABBIE: I think I know why you like her coffee so much… and it has nothing to actually do with the coffee.

CORBIN: What are you hinting at Mills?

ABBIE: [as they get into the cruiser] Aw come on Sheriff… you and Miss Mabie… It's been almost 15 years since your wife died… and Miss Mabie seems pretty sweet on you...

CORBIN: [flusters] Let's just get this call done.

ABBIE: [teasingly nudges his side with her elbow] Come on, Corbin… you and Miss Mabie? Huh? What's up with y'all?

CORBIN: [still flustered] Nothing is going on…

ABBIE: Oh I get it, you can be all up in my romantic life but I can't know anything about yours… and here I was thinking we were friends that were allowed to be all up in each other's business. 

CORBIN: Just drive… [points vaguely]

ABBIE cackles and drives off. Scene goes to the farm as the cruiser pulls up. Lightning flashes and the horses can be heard neighing fearfully and just general racket. The two get out of the cruiser and go onto the porch. CORBIN knocks loudly.

ABBIE: Mr Oglesby, this is Abbie and Corbin from the sheriff's department.

CORBIN: [turns as a loud crashing sound comes from the barn] I'll go check the barn, try the back door. You know he can't hear for nothin'

ABBIE: You can knock louder than me. Why don’t you try the back door and I get th--

CORBIN: [firmly] I will get the barn. No telling what could be out there. I’m old and I’ve lived my life. You’re still young…

ABBIE: [rolls her eyes and grins] The links you go to in order to avoid talking about you and Mabie…

ABBIE goes around the corner of the house, toward the front of the house. CORBIN eyes the barn and takes a deep breath at lightning illuminates the structure. He swallows hard and puts a hand on his gun as he steps down off the porch and walks across to the barn. The barn door claps noisily. CORBIN pauses outside the barn door and looks at the back of his hand. His hand is shaking gently. He clenches it then gives his hand a shake before opening the barn door.

CORBIN: Hank? You in here? [steps in cautiously] It’s the Sheriff. You called about seeing someone come into your barn. Abbie and me are here to check it out. You didn’t come in alone did you?

The horses fidget restlessly. Lightning continues to flash and thunder rumbles.

Scene goes to ABBIE. She knocks on the front door.

ABBIE: Mister Oglesby? You there? [her gaze goes out to an old pickup truck with a door open] Mister Oglesby?

ABBIE moves toward the edge of the porch. She tilts her head curiously then walks down the steps of the porch. Her focus goes to a foot that can be seen underneath the truck door.

ABBIE: Mister Oglesby? [walks closer to the truck] Hey, Mister Oglesby, IT’s Abbie… Me and the Sher-- [stops when she reaches the truck]

View pans to inside the truck. A headless body adorned in worn overalls and flannel shirt is in the drivers’ seat. An old rifle is in the body’s lap. View turns back to ABBIE. She is very obviously shocked and reaches for the radio at her shoulder.

ABBIE: Corbin. I just found Mister Oglesby’s body… He’s been decapitated… I repeat...

Scene goes back to CORBIN. ABBIE’s muffled voice can be heard coming through CORBIN’s radio. Only every other word ABBIE says is coming through.

ABBIE’s VOICE: body… pitated. I repe-- esby’s body… decapitiated…

CORBIN: [draws his gun as there is another crash near the back of the barn] This is the sheriff's department. Come out with your hands up!

One of the back stalls bursts open and a lumbering shadowy figure comes from the stall, leading a horse. When the lightning flashes again, it illuminates the fact it is the HEADLESS HESSIAN. CORBIN looks terrified, the aim on his gun lowering just slightly.

CORBIN: [scoffs] Somehow I always knew it was you… [HEADLESS starts moving toward him] If you think I will let you get her without a fight, you got another thing coming…

CORBIN opens fire on HEADLESS. He swears when his bullets have no effect. He spots a scythe and rushes towards it. He picks it up and stands his ground, gaze set firmly. His hands begin to take on a soft golden glow, then the Scythe begins to glow gold.

HEADLESS drops the reins of the horse and pulls his ax from a strap on the saddle. HEADLESS and CORBIN stalk toward each other. Their weapons release a pulse of energy when they connect. 

View jumps to outside. ABBIE is running toward the barn when a pulse of red and gold light comes from the barn, knocking her over. She sits up, staring at the barn in confusion for a moment. A mix of red and gold light can be seen illuminating from within the barn.

ABBIE: What in the hell… 

Scene goes silent except for a soft, intelligible whisper. ABBIE’s eyes go out of focus for a moment and she weaves gently before her eyes turn pitch black. She stands slowly, her hand going under the backside of her jacket.

View switches to inside the barn. CORBIN staggers backwards and falls against the barn doors, gasping for breath. HEADLESS throws his axe at CORBIN. Before CORBIN can block the ax, the view goes outside. The blade of the axe pierces the barn door, just as ABBIE [her eyes are still black] reaches the barn. She holds the knife out at her side, the blade of the knife grows into the blade of a sword and glows a deep, dark, blood red. ABBIE herself has a similar glow around her.

The axe blade is pulled from the barn doors and the doors blow open, knocking ABBIE back. The knife falls out of her hand. The knife shrinks back to its normal size. When ABBIE lifts her head, her eyes are back to normal. She pushes herself to her feet as HEADLESS comes out of the barn, mounted on a white horse. ABBIE stumbles back, wide eyed, mouth hanging open as HEADLESS seems to stare at her for a long moment. After about a minute, evidently regarding ABBIE as being a non-threat, he puts his axe in a sheath on his back and turns his mount the other way and running toward the road.

After a minute of staring in shock, ABBIE shakes her head to clear it then runs into the barn, discovering CORBIN’s decapitated body. She falls to her knees and pushes the button on her radio. 

ABBIE: Officer down on Oglesby’s farm! Please send back up. Suspect is… on the run on horseback… Officer down on Oglesby’s farm! [sobbing, letting go of the radio, dropping her head forward to cry] oh god… He killed Sheriff Corbin… 

There are flashes of ABBIE and her sister, JENNY as children, wandering through the woods with their bikes. It flashes between the past and modern ABBIE crying. As the flashbacks progress, it recounts the demon in front of the four white trees.

Modern ABBIE lifts her head. Her eyes are pitch black and she climbs to her feet, trails of tears streaming down her face... Close by, HEADLESS pulls his horse to a stop and slowly turns it back towards the farm. The horse dances restlessly for a moment before he nudges it into movement, heading back towards the farm.

Back at the farm, ABBIE picks up the knife. Both she and knife glow dark red. The blade grows again. As HEADLESS returns, to his mount toward her. He draws it to a halt and dismounts. He stands next to his horse and pulls out his axe. View draws back until both can be seen, standing facing each other. Lightning flashes and thunder rolls.

Close up of ABBIE only. She rolls her shoulders and cracks her neck then she bows her head. Four black wings with a few gold and silver feathers intermingled in unfurl from her back. The wings stretch out, as if they haven’t been used in a very long time, before going into what can only be called a defensive poise. When ABBIE lifts her head, there is a bright, golden halo around her head and her eyes are glowing gold behind the darkness like two small black holes in the vacuum of space.

HEADLESS readies his axe.

View pans out to include both of them again. They look like a modern day David and Goliath getting ready to face off. HEADLESS runs toward ABBIE. ABBIE runs toward him, teeth bared. ABBIE leaps into the air, then comes down, swinging her sword toward HEADLESS. He holds up his axe to block as ABBIE’s sword connects with the blade of the axe. A large pulse of dark energy emits when their weapons connect. ABBIE lets out a loud shriek as she holds her blow. The blade of the axe begins to crack. HEADLESS elbows ABBIE in the hip, sending her flying backwards. ABBIE rolls across the ground, losing the sword. The wings and glow disappear as HEADLESS lumbers toward her, axe drawn and ready to attack.

Out of nowhere a ball of energy hits HEADLESS in the gut, sending him flying back. A beautiful black woman in a shimmering silver gown stands over ABBIE. She has beautiful golden wings and a golden halo. A sword is sheathed at her hip. Even though the angel is beautiful, and diminutive in stature, something about her commands authority.

ANGEL: Stand down, Jegudiel. I command you.

HEADLESS stands and faces the angel. He readies his axe.

ANGEL: I know I have no authority over you anymore. But stand down or my hand will be forced to rise against you, my fallen brother. [Headless steps toward her. She raises a hand and HEADLESS goes still] Unlike you, I have not been sleeping for two hundred years. I am just as powerful as I have always been. Leave here, brother.

HEADLESS’s body relaxes when ANGEL lowers her hand. He returns to his horse, mounts up, and leaves. ANGEL leans down and gently strokes ABBIE’s hair. She takes up the knife and carefully puts it back behind ABBIE’s back, under her jacket.

The ANGEL walks over to CORBIN, falls to her knees and puts a hand to her chest as she softly cries.

ANGEL: My dear brother, Gabriel… 

She lifts her head as a figure emerges from the shadows of the barn. It’s REVEREND KNAPP. He has his hands cupped together as he approaches her.

KNAPP: Michael…

The angel smiles softly

MICHAEL: Selaphiel…

She holds out her hands and KNAPP. KNAPP places a dimly glowing orb of light in her hands. She sighs wistfully and nuzzles the orb affectionately.

MICHAEL: Our clever brother… saved us some of his grace so that he could return. [she gazes at the orb and smiles] I will take you to our Raphael. She knows exactly where you next belong, brother.

KNAPP: I will do my best to continue to protect you and the others, Michael. [he looks outside the barn] What of… her.

MICHAEL: Her time to rise will come. We must leave her alone for now.

KNAPP: The Sins…

MICHAEL: If she is awakening, then they already know. I have already heard their voices calling out to her. It’s only a matter of time before they all come together to sing for our Goddess again.

They both look up as blue and red lights start flickering through the trees surrounding the property. KNAPP helps Michael to her feet. They disappear in a soft flash of light. Outside of the barn, ABBIE is sitting up, shaking her head to clear it. Police cruisers and other various first responder vehicles pull up behind them. 

ABBIE looks shaken and there is a small cut on her forehead as an EMT rushes up to her and kneels down. A uniformed officer comes up to ABBIE as the EMT is helping her to her feet.

OFFICER: [sounding far away] Do you know what the attacker looked like Mills? 

ABBIE looks at him strangely as everything seems to tilt and blur. She squeezes her eyes shut as there are flashes of the four white trees in the woods. ABBIE shakes her head again

OFFICER: [clearly as everything comes into focus] Mills… what did the attacker look like?

ABBIE’s face contorts.

ABBIE: He was…

Scene skips over to Officer ANDY BROOKS, in his cruiser, speeding toward the farm on the backroads.

DISPATCHER: [over radio] Suspect is identified as a middle-aged, white male, approximately six feet tall. Fleeing on horseback toward town. According to Mills he was wearing a colonial style costume.

ANDY: [into his radio] I’m on it!

No sooner than he says this, a figure steps out into the road in front of him and freezes, like a deer caught in headlights. ANDY serves to miss but makes contact with the figure. He pulls over and draws his gun. 

ANDY: [in to the radio at his shoulder] I just found someone matching that description. [to the figure, which is ICHABOD CRANE] Don’t move. Put your hands in the air!

ICHABOD, obviously terrified, but reeling from being knicked by a fucking car, weaves unsteadily as he puts his hands up in the air. Another cruiser pulls up and two officers get out, guns drawn as ANDY cuffs ICHABOD and puts him into the back of his car. ICHABOD looks around, confounded as ANDY drives him back to the department. All that can be heard is muffled voices and a loud whining ring, much like when your ears are ringing.

He looks out the windows, squinting at the lights and scenery through the darkness. ICHABOD continues to look around, taking everything in. He’s quickly processed, has a mugshot taken, ect and put into an empty cell. A nurse comes in and checks out his arm and when she checks his pupil dilations, he follows the light with wide, amazed eyes. The nurse snaps her fingers in front of his face, and after a moment the ringing begins to subside.

She smiles brightly.

NURSE: Can you hear me now, baby? [ICHABOD blinks at her, smiling softly] My name is Nurse Latisha. What’s your name, honey?

ICHABOD: [attempts to speak a few times before finally managing to get words out] My name is Captain Ichabod Crane, madam. [looks around in concern] May I ask what is taking place? I can only assume you are one of the rebellion’s nurses, although I thought I knew all of them in our region. Are you new to the regiment?

LATISHA: Rebellion? Regiment? I don’t know about all of that, baby, but I was on call tonight so they had me come over and do a quick evaluation since Officer Brooks said he hit you with his car before bringing you in. [looks towards ANDY, who is standing nearby] Initially, it doesn’t look like he’s seriously injured but you will need to bring him to the hospital in the morning to get an xray on his arm and to have a more thorough exam. I would suggest a mental evaluation given what he just said… 

ANDY: Thanks for coming in, Nurse Ouchi-Jackson. We can take it from here.

LATISHA: [eyes ICHABOD for a second then shakes her head to clear it] Just give me a call if you have anything else.

She leaves and ANDY goes and grabs ICHABOD by the arm and roughly pulls him to his feet. ICHABOD noticeably winces but keeps quiet as ANDY takes him down a long corridor then puts him in a cell that is empty and no one else is around and not all the lights seem to be working in the section. After ANDY manhandles him into the cell, he closes the door.

ANDY: We’ll just let you sit here for a bit while we find out details of Sheriff Corbin’s murder. You can think about how you’re going to word your confession.

ICHABOD looks at ANDY, perplexed.

ICHABOD: I have harmed no one!

ANDY: We’ll see about that…

ANDY leaves. After a moment, ICHABOD looks around before settling onto a bench. He begins to look around curiously as the scene fades.

-end scene-

**ACT 4:**

Scene opens at the department in an interrogation room. ABBIE is sitting at the table, still in her uniform. There is a bandage on her forehead where the cut was. She is staring blankly at her hands on the table. She squeezes her eyes shut then lays her head down on her hands, silently crying.

After a moment, she sits back upright and wipes her eyes with the back of her hand, sniffling loudly. She is taking CORBIN’s death hard because he was not only a netor but he was like a father to her.

Scene goes to Mabie’s diner, several years ago. A much younger ABBIE is sitting slouched in the seat across from CORBIN. She is looking around everywhere except at CORBIN. When he extends a hand across the table, she stares at it, then looks at him.

Scene returns to modern day, ABBIE still in the interrogation room. The door opens and LUKE and ANDY come in. ABBIE folds her arms across her chest as they sit down.

ABBIE: [quietly] I don’t know if I can do this right now…

ANDY: We understand that it’s hard on you, ABBIE. And we wouldn’t ask it of you if it wasn’t important.

LUKE: And it’s important that we get all the details while it’s still fresh in your mind. That way we can bury this guy under the prison for what he did to Corbin... and Mr Oglesby…

ABBIE: [blinks at them, shaking her head] What guy? The murderer? I… I don’t know that you will be able to catch this guy… He was… [a flash of HEADLESS “staring” at her, returns to the room as ABBIE shakes her head again] he was…

ANDY: Apprehended. We got him Abbie. We just need your statement to nail him to the wall.

ABBIE: [head jerks back in surprise] You caught him? You have him in custody?

LUKE: [nods] Andy came up on him while on his way to the farm. He’s being interrogated as we speak. We want to get you to identify him after you’ve had some rest…

ABBIE: [shakes her head and stands] No, I want to identify him right now. I want to see this guy…

LUKE hops up to stop ABBIE from leaving.

LUKE: Not right now, Abbie. You’d only be getting in the way of the others that are trying to get their part done. You’ll have your chance. I promise. Andy and I both promise… But right now, we need your statement. We need you to tell us everything that happened…

ABBIE presses her lips into a tight line but goes back to her seat and sits down.

ABBIE: [quietly, nods] Okay… 

Scene has passage of time, ABBIE is talking, LUKE and ANDY are both making notes and nodding.

ANDY: Was there anything unusual about this guy? Any weird physical attributes…? Any missing limbs or strange birthmarks?

ABBIE: [stares at ANDY, eyes full of fear as the sight of HEADLESS flashes] Yeah… but it’s not something I can explain. It’s something I have to see and verify. That’s why I want to see this suspect you’ve brought in. One look at him and I can tell you whether or not you have the wrong guy.

LUKE: With everything you’ve used to describe the guy, we’re pretty sure we got the right one. But, like we said… in the morning. 

ANDY: Besides, he’s not exactly being passive like he was when we first caught him. [ABBIE looks incredulous] That may have been because I had just hit him with my cruiser. But the pain seems to be wearing off and now he’s being irate, potentially violent. We don’t want you to deal with that right now.

ABBIE: [sighs with defeat] Morning… [nods] Okay. Morning it is then.

ANDY: Go home and get some rest.

ABBIE gets up and pushes her chair back under the table. 

ABBIE: I guess I’ll go home and get some rest… I’ll be back first thing in the morning…

ABBIE walks out of the interrogation room. 

Scene goes to inside of an apartment, it’s dark. an instrumental version of Janelle Monae’s PrimeTime plays over the scene. The door opens and ABBIE walks in, tossing her keys on a table near the door as she closes the door. After locking the door, she kicks off her shoes and goes to her bedroom. In her bedroom, she removes her jacket, throwing it over the back of a chair at a small vanity. She takes her gun and holster off and sets it on her dresser. Something can be heard falling onto the floor. She frowns and looks down, the knife is at her feet.

ABBIE picks up the knife and studies it carefully before setting it beside her gun. She starts unbuttoning her uniform as she walks towards an open door on the farside of her room. The room is a bathroom and she flicks on a light as she goes in and closes the door. 

Scene changes to ABBIE soaking in a hot bath, head tilted against the back edge of the tub. Her eyes are closed and she’s doing slow breathing exercises. Her brow knits as there is a flash of the four white trees… the tall, pale demon… of HEADLESS.

Her eyes open and she shakes her head as she sits up, pulling her knees to her chest and wrapping her arms around them.

The background music fades.

ABBIE: [whispers] it’s not real… [the same flashes] It’s all in your head...

She rubs her eyes with the heels of her palms as the flashes come again. A knock echoes through her apartment. Water sloshes as ABBIE reaches for a towel. View goes to her entry door. ABBIE has the towel around her hair and is tying a fluffy robe closed around her waist.

ABBIE: [quietly] who the fu-- 

She looks out the peephole, groans, and rests her head against the door before taking a deep breath and opening the door. It’s LUKE. He bares gifts of a single rose and a small gift bag.

ABBIE: [flat toned] What do you want Luke?

LUKE: I came by to make sure you’re resting. [holds out his meager offerings to her] You’ve had a rough day. I also wanted to make sure you’re okay.

ABBIE eyes him for a long moment then steps back, holding her door open. She takes the offerings.

ABBIE: Come on in. [indicates inside her apartment with a jerk of her head] Isn't it considered a conflict of interest for you to be here?

LUKE: You’re not a suspect.

ABBIE: [closes the door] But I am a witness.

LUKE: You’re also someone I care about. 

ABBIE closed her eyes and sighs, dropping her head forward. She pinches the bridge of her nose.

ABBIE: I don’t need to be dealing with this right now, Luke… On top of everything else I just...

LUKE: Before you finish… I know I’ve been a little clingy lately…

ABBIE: A little?

LUKE: BUT… I also know that you may not be in the same place I am just yet. And I’m okay with that. My expectations have been tempered since day one… and they still are.

ABBIE: [sighs] Jesus H Christ…

She sets her gifts on the coffee table then pulls LUKE in for a kiss. They kiss as they stagger toward her bedroom, the door closing behind them.

Scene goes to later… in ABBIE’s bedroom. LUKE is bare chested and asleep. ABBIE is also noticeably topless and resting her head on his chest, lightly drumming her fingers against LUKE’s skin. Blankets cover them both from the waist downward. Moonlight pours in through the window, casting a silvery glow on everything, through a tiny sliver of an opening between the curtains. ABBIE is staring blankly at the moon through the window.

She lifts her head as angelic vocalizing begins. ABBIE eases out of the bed and walks over to the window, gazing out. Her eyes are pitch black, reflecting the moonlight as she pushes the curtains open wide (yes she’s still naked). ABBIE puts her hand to her chest, over her heart.

ABBIE: [softly, her voice gently echoing] My light…

Scene goes completely black as ABBIE whispering “My Light” echoes over and over again. There is a burst of bright light in the darkness. After a moment, seven bright--but smaller--specks of light blink into existence and angelic vocalizing begins, softly at first but growing louder as more stars begin to appear.

CORBIN’s VOICE: In the beginning… there was darkness. Lonely and fathomless. And thus She created The Light. Her Light created the heavens and the stars to sing for Her.

View pans around from the stars. A celestial being that looks like ABBIE, but with multiple faces, arms, legs, and wings of various colours. The starlight illuminates the black eyes of the forward most face, making them look like two moons.

CORBIN’s VOICE: She was no longer alone… And She deemed it good. 

The being smiles brightly, clapping her hands joyfully as the stars vocalize and twinkle. The seven brightest stars begin to take forms like the being’s. The brightest Light attracts the attention of the being and she flies after it, reaching out toward it, laughing as she looks back and reaches toward the seven other lights. They follow after her.

ABBIE’s VOICE: [laughter in her tone] What kind of new age bullshit are you reading this week?

Scene goes to Mabie’s… ABBIE and CORBIN, in their everyday street clothes, are in a booth during the day time. CORBIN has a cup of coffee in front of him and a thick, leatherbound book. The book looks old and well worn. ABBIE sits across from him, nibbling on a plate of fries. She’s smiling brightly, the sun casting an almost heavenly glow on her.

CORBIN: I will have you know, this book is older than both of us, added together and multiplied by itself.

ABBIE: And the library just let you take it out without gloves on?

CORBIN: They trust me not to let anything happen to it.

ABBIE: I just think its funny as Hell that an old man like you is so interested in witchcraft.

CORBIN: A lot of things that happen around here is linked to witchcraft. Can’t ever be too prepared, even if you think the material is just a bunch of hullabaloo… Besides, I think it’s fun to read about the different creation myths.

ABBIE: Our definitions of fun are very, very different, Sheriff.

CORBIN: I’m sure you’ll start to appreciate it some day… This book is based off some of the earliest known writings of mankind.

ABBIE: [shakes head and looks dubious] Appreciate isn’t a word that comes to mind…

CORBIN: [chuckles] Then what does come to mind?

ABBIE: [head falls back and she fake snores]

They both laugh and CORBIN shakes his head.

CORBIN: I thought the same thing at your age.

Scene returns to ABBIE in the moonlight. Tears are streaming down her face. In the background, LUKE can be seen shifting in the bed and then sitting up, rubbing his eyes.

LUKE: Abbie? Abs?

ABBIE’s eyes return to normal and she half turns to look at LUKE.

ABBIE: I think it’s best if you leave. I don’t think I can see you anymore. [shakes her head gently] It’s not fair that I keep dragging you along like this. I’m not ever going to feel the same…

LUKE: [small smile] You can’t say that… you might. One day.

ABBIE: Maybe. But not you. Please, Luke… just… go.

LUKE stares at her a long moment then nods.

LUKE: Okay. I’ll leave. But if you ever change your mind, you know where to find me, Abbie. Like an idiot, I’ll be waiting.

Scene goes to outside ABBIE’s apartment. The entry door opens and LUKE come out, tugging on his shirt as he walks out. ABBIE lingers just inside the door, in her robe.

ABBIE: Thanks for coming over. 

LUKE: [putting on his jacket] Don’t mention it, Abbie. And I mean it… if you need me, even if it’s just to rage at someone for a little bit… call me. You don’t have to go through this alone. Corbin meant alot to all of us.

ABBIE smiles softly and reaches up to gently pat his cheek.

ABBIE: I know. See you in the morning, LUKE.

LUKE nods gently and then goes to his car to leave. ABBIE lingers in her doorway, watching his taillights disappear down the street. After the taillights are gone, she pushes away from the doorjamb and closes her door, Locks can be heard sliding into place. When the view goes inside, ABBIE is resting her forehead against the door. She sighs heavily, partially in victory and partially in defeat. She’s had a long day. Losing her mentor and dumping her bootycall all in the same day can be exhausting like that.

ABBIE: [softly] I hear you… I hear you… sing for me… sing sing sing… uplift my spirit, uplift my soul…let me know you’re still there...

ABBIE’s head jerks up as rambunctious pop music starts playing on her phone. It’s the Intro to Beyonce’s Single Ladies. Abbie walks over to her phone. It’s an unknown caller. She frowns and answers the call, putting it on speaker.

ABBIE: Hello? [silence] Hello? Is anyone there?

Soft angelic vocalizing starts coming through her phone. ABBIE’s body goes rigid and her eyes turn black again.

ABBIE: [her voice soft but echoing] I hear you… Greed.

-end scene, end episode-


	2. Episode 2

ABBIE MILLS...Nicole Beharie  
ANDY BROOKS…John Cho  
LUKE MORALES…Nicholas Gonzalez  
AUGUST CORBIN...Clancy Brown  
ICHABOD CRANE…Tom Mison  
REVEREND KNAPP/SELAPHIEL … Patrick Gorman  
MICHAEL … Yetide Badaki  
CAPTAIN FRANK IRVING … Orlando Jones  
CYNDI PRIDE… Janelle Monae  
LATISHA OUCHI-JACKSON/RAPHAEL … Leslie Jones

**ACT 1:**

MICHAEL VOICEOVER: Previously on Sleepy Hollow…

Recap of pilot episode, it ends with ICHABOD taking a seat in his jail cell…

Scene opens in the jail cell. ICHABOD is pacing restlessly. His hands are free of the cuffs and fingers are flicking at his side. He’s murmuring to himself. There are officers close by keeping watch on him. A door can be heard creaking open. ICHABOD stops and watches as ANDY comes around the corner with a tall black man in a suit. The new comer is FRANK IRVING.

FRANK: Captain Crane… [Ichabod stops pacing and stands at attention, hands behind his back] That is the name you’ve been giving us right? [ICHABOD nods] I’m Frank Irving. I’m here from the FBI, leading the investigation about the murders of Sheriff August Corbin and Mister Hank Oglesby as well as an attack on one of Sleepy Hollow Sheriff’s department’s lieutenants. [ICHABOD starts to speak, FRANK shakes his head] I don’t want to hear you saying you did or didn’t do it just yet. Let’s just wait until you’re in the interrogation room. We need you to answer a few questions for us and maybe we’ll answer a few questions you have when we’re done.

ICHABOD makes a flustered sound but nods.

ANDY: [taps the little pass through they use for giving inmates food and ect] Hands.

ICHABOD sticks his hands through the pass through. ANDY puts cuffs on ICHABOD. He sighs with irritation.

ICHABOD: Is this necessary?

FRANK: Standard procedure. The sooner you comply, the quicker we can get you out of here. Did you want to have a lawyer or solicitor present for questioning?

ICHABOD: I fail to see why I should, given I am innocent of all the aforementioned crimes.

FRANK and ANDY share a look. FRANK shrugs and nods toward the direction he came in from.

FRANK: Bring him on out.

ANDY and FRANK escort ICHABOD out of the cell area. They pass through an area where there are many people running around, some in cuffs, some being calm, some being in an outrage. Amongst them is MICHAEL, just standing in the middle of all the chaos, unphased. Her wings are not out and she is dressed very much like any other person in a dark blue sundress and heels. Even though she looks like a normal person, there is an almost ethereal aura to her presence. She watches carefully as ANDY and FRANK walk ICHABOD through the busy station. ICHABOD is looking around in awe. FRANK and ANDY escort him down a corridor.

A cop brings a wailing woman past in front of MICHAEL. After they pass, she is gone. Scene follows FRANK, ANDY, and ICHABOD as they continue down the corridor and then go into an interrogation room. ANDY roughly puts ICHABOD into the seat then cuffs him to the chair. ICHABOD scowls and glares at ANDY as he joins FRANK on the other side of the table.

FRANK: Alright, Captain Crane, why don’t you tell us your recollection of events in the last 24 hours up until your arrest.

ICHABOD appears to calm a little and sighs softly.

ICHABOD: Are you certain you are prepared for such? I can recollect every second in perfect detail without issue. Although, suffice to say, I am not certain you may understand it as I, myself, am perplexed by the events that transpired.

FRANK pulls his phone from his pocket, ICHABOD looks perplexed for a moment as FRANK sets it on the table. Zooms in to show FRANK has opened a recording app. He taps record.

FRANK: Don’t worry Mister Crane, if you say anything none of us understand, we can replay it until we do. Just tell us what happened.

There is a time lapse filled with imagery of ICHABOD speaking at great length. Occasionally FRANK and ANDY share curious glances. After a few minutes ICHABOD finishes his tale.

ICHABOD: And that is when Officer Andrew put me into his… [confused expression] carriage and brought me to this… [looks around] place. Although I do fear I have actually died upon the battlefield and this is, in reality, hell.

FRANK: [smirks] That’s an easy mistake to make. Officer Brooks and I are going to step out for a second to discuss some things. [FRANK and ANDY stand] We’re waiting for Officer Mills to make it in so they can verify whether it was you they saw at the scene last night.

ICHABOD: [nods solemnly] I anticipate his timely arrival.

ANDY snorts and looks away before hurrying out of the room. FRANK follows after ANDY and closes the door behind him. They stand in the observation room, staring at ICHABOD, who is now transfixed by a light on the ceiling.

FRANK: [shakes his head] I don't know… I just don’t know. Normally, I can tell when someone is full of shit. But, this guy… I just don’t know.

ANDY: Obviously the guy is crazy or strung out on something.

FRANK: I’ve seen strung out psycho-babbling. This guy is clean and believes every last word he is saying. But we can run a tox screening to make sure. His story, blissed or not, is enough to get an evaluator in from Tarrytown.

ANDY: We can get one here in a couple hours if that’s what you want. And I’ll oversee that tox screen...

FRANK: I can take care of all that. I forgot to mention, since you all have lost your sheriff, I’ve been temporarily appointed to take his place. What time does Mills get here?

ANDY: She should be here in about half an hour.

FRANK: Let’s take this guy back to his cell until she gets here. [chuckles quietly] Can’t wait to see how the Captain responds to Mills.

ANDY: [shrugs] Doesn’t seem to have a problem with either of us… 

FRANK nods toward the door into the interrogation room. They both go into the room.

FRANK: Alright, Captain, we’re going to return you to your holding cell until Officer Mills gets here. We also want to have another person come in and talk with you that can maybe help you fill in a few gaps between when you last saw your wife and when you woke up yesterday.

ICHABOD: [sarcastically] Oh thank Heavens I was beginning to worry you had decided to hang me in the gallows without having Officer Mills verify my innocence.

FRANK: They should be bringing breakfast around just before Mills arrives. [as ANDY uncuffs ICHABOD from the chair and cuffs both his wrists] That should take care of your hangry outbursts.

ICHABOD: [as ANDY and FRANK lead him out of the interrogation room] My… what?

Scene changes to ABBIE’s apartment. In her bedroom. She is finishing up putting on her uniform, looking in a mirror on her vanity. ABBIE’s gaze shifts to a photograph of her and AUGUST on her vanity, ABBIE looks younger, happier. They are both in their police uniforms, shaking hands and looking at the camera smiling. ABBIE looks down on her vanity to pick up her Lieutenant bars. She gets a far away look in her eyes.

AUGUST’s VOICE: Look at you, Mills… all polished and proper…

Scene turns into a flashback. AUGUST and ABBIE are in his office, the sunlight filters in through the blinds as he straightens her uniform tie and her lapels. AUGUST frowns and hums with disapproval.

ABBIE: What? What is it?

AUGUST: Something important is missing from your uniform, Mills. [ABBIE looks confused as AUGUST goes around his desk and gets something out of his drawer, he comes back around and opens the box to show ABBIE the Lieutenant bars] You need these.

ABBIE: [her eyes widen and she bounces with excitement] I passed?

AUGUST: You passed. [ABBIE squeals and glomp hugs him, AUGUST chuckles and hugs her in return, he puts her down after a moment] That's enough of that kiddo… don't need folks talking and saying you only got promoted because you're my favourite. 

AUGUST sets the box with the bars on his desk and picks one up out of the box. He looks super serious as he carefully pins the first bar on ABBIE's lapel.

AUGUST: My own pop bought these for me when I made Lieutenant. Seems fitting they should go to you now.

ABBIE looks ready to cry when AUGUST looks down to pick up the other bar. He cocks a brow at her as he pins the bar to her other lapel.

AUGUST: Are you about to cry Mills? [ABBIE shakes her head, even though her bottom lip is quivering. AUGUST gets a twinkle in his eye] I wouldn't blame you if you were. I cried when my pop put these on my uniform for the first time.

ABBIE sniffles and dabs at her eye with her finger.

ABBIE: [sniffling deeply] My allergies must be acting up again. [They both laugh]

AUGUST: Let's go get these staff photos taken and then I'll take you for pie at Mabie's to celebrate. 

Scene returns to present day. ABBIE wipes her eyes and face then takes a deep, calming breath. She puts her bars on then grabs her keys and cellphone and goes outside to her cruiser. 

The hood of the cruiser is popped up and she shoves it down into secured position. ABBIE gets in and puts the key in the ignition and turns it. Nothing happens. She tries again with the same result.

ABBIE: [rolls her eyes, pops the hood, as she gets out] I swear to God if these damn kids...

She lifts the hood and looks in the engine compartment. The battery is completely gone.

ABBIE: [annoyed] Son of a bitch… [slams the hood down] I hate this… goddamn town. 

She pulls her phone from her pocket and dials a number. Paces toward the back of the cruiser.

ABBIE: This is Mills… some jackass stole the battery out of my cruiser… Yes, again.

END SCENE.

**ACT 2:**

Scene opens on ABBIE and ANDY walking down the corridor of the police department. 

ABBIE: Thanks for coming to get me. I can't believe those little shits stole the battery again. [sighs] I swear everything keeps trying to keep me away from this place.

ANDY: Or keep you here in Sleepy Hollow. 

ABBIE: [stops at a jail door] Or drive me away from it. I can’t look at everything that’s been happening since I was a kid and think I need to stay here. I just want to get out of Sleepy Hollow before it kills me.

ANDY: [goes to open a door] Are you sure you’re ready for this?

ABBIE: Yeah. I want to get this over with.

ANDY unlocks the door and holds it open for ABBIE. He makes sure the door is closed and locked once they are both past. The corridor seems to become darker the deeper into the jail they go. They reach a solid steel door, go through it. ABBIE’s steps slow as they approach an officer standing guard outside a cell. 

In slow motion she steps forward, her breathing is loud and the sound of a heartbeat can be heard. Her eyes turn black and everything around goes black except for a solitary dim light illuminating her. Instead of her police uniform and the like, she is in a shimmering red and gold sari and gold jewelry, with black wings, she also has on an elaborate golden crown that resembles the rays of the sun. Beside her, ANDY is now dressed in light armour and a sword on his hip.

They approached a prostate figure in an open space, chained to the ground, head hanging low. The figure has mangled white wings, splotched with blood.

Everything goes back to normal. ABBIE approaches a cell. The cell ICHABOD is kept in. He is seated on a bench, looks deep in thought, his lips moving as if talking to himself. He is illuminated by a single light, doesn’t look up when she looks into the cell.

ABBIE looks at ANDY hesitantly. She looks at ICHABOD then back at ANDY.

ANDY: Well?

ABBIE: [shakes head] It’s not him.

ICHABOD looks up slowly.

ANDY: Are you sure? Take a closer look. We have to be sure.

The setting flashes back to same as before ANGELIC!ABBIE standing before the bound figure. The figure looks up at her. It is ICHABOD, fear is in his eyes as he shakes his head. 

ICHABOD: [whispers] It wasn’t me...

ANGELIC!ABBIE stares down at him, face emotionless as she shakes her head.

ANGELIC!ABBIE: It was[everything goes back to normal, focusing in on ABBIE’s face]n’t him.

View pans out to show the whole room. They are mirroring what was going on in the flashback--ICHABOD seated behind the cell gate, ABBIE and ANDY standing side by side.

ANDY: You sure?

ABBIE: [closes her eyes and shakes her head, folding her arms over her chest protectively] It’s not him. The guy that attacked me and Corbin was wearing an old military uniform with a red coat… and had some kind of mark, a branding or tattoo on his hand…

ICHABOD: [softly] Was it a bow?

ABBIE: I beg your pardon?

ICHABOD: The mark, upon his hand. Was it a bow?

ABBIE: [stares at ICHABOD] How did you know that?

ICHABOD: Did he carry a broad axe?

ANDY: So you know the guy? When was the last time you saw him? Where can we find him?

ICHABOD: His current location is a mystery to me. But the last I saw him was on the battlefield when I cut off his head.

ABBIE’s expression turns to one of horror. ICHABOD and ABBIE hold each other's gaze for a long moment. ABBIE starts gasping for breath and hurries down the corridor and through the steel door. ANDY comes after her. Once on the other side of the door, ABBIE leans against the wall and pinches the bridge of her nose.

She takes a deep breath and tilts her head back against the wall as ANDY finally makes it to where she is.

ANDY: Are you alright? [ABBIE shakes her head] Was it him talking about cutting the man's head off?

ABBIE: [quietly] Yeah.

ANDY: This guy actually knows something. Which is more than we've been able to get from him all night. Maybe him and the other guy are serial killers with the MO of decapita--

ABBIE: [closes her eyes and shakes her head] Not right now, Andy. He's not the killer. [shakes head again] He might know something but… he's not the killer.

ANDY: He just confessed to cutting a guy’s head off Abbie… that can't be a coincidence. Maybe he saw something? Irving has ordered a psych eval for him. Maybe that will clear some things up.

ABBIE: [gives ANDY a strange look] Who's Irving?

Setting changes to a short while later… IRVING is walking down a corridor, flipping through a folder. ABBIE comes scurrying up to him.

ABBIE: Sir? Captain? Lt. Abbie Mills. I was Corbin’s partner.

IRVING: [closes folder and looks at ABBIE] Sorry for your loss.

ABBIE: Thank you, sir.

IRVING: What can I do for you, Lt. Mills?

ABBIE: I was wondering if I could sit in while you have our psych guy question him.

IRVING: I don’t see why not. Are you trying to clarify events?

ABBIE: More like trying to get some closure. There’s so many details that I just can’t wrap my head around and I’m hoping maybe this guy will help me understand.

IRVING: What kind of details?

ABBIE: Such as there was very little blood on the scene. The wound on Corbin’s neck was cauterized. That means the blade that decapitated him was heated to _at least_ 212 degrees. Judging by the wound, the corner thinks it could have been upwards near 500.

IRVING: Hmm. [nods] Interesting. 

ABBIE: But there was not a single trace of a fire anywhere near the scene. Mr Crane obviously saw or at least knows something that can help us on this case.

IRVING: Or he could be the killer.

ABBIE: With all due respect, sir, I don’t think he is.

IRVING: [lightly brandishes the folder he’s carrying] Somehow I knew you might say that. [stops outside a door] Your file shows you have a habit of being on the dot with your hunches. Let’s see if your hunch still says the same after we’re done talking to Mister Crane. They’re getting him hooked up to the polygraph right now. Are you sure this is something you want to do? Don’t you think you should be taking the next few days off?

ABBIE: I refuse to rest until I know what happened to Corbin. He was like a father to me, sir. 

IRVING: Sounds like you’re wanting to take this investigation personally. That can be dangerous, Lt Mills.

ABBIE: He was like a father to several people here at the station. I can guarantee you everyone here wants this solved. And if you want to get it solved, I would be one of the best ones to have on the case.

IRVING: Well, let’s hope you can get it done in two weeks time, before you leave us for the FBI.

ABBIE: Those plans are on hold until I can figure out what’s going on here in Sleepy Hollow.

IRVING: [sweeps hand toward a door] Then by all means, ladies first, Lt Mills.

Setting goes into an interrogation room...ICHABOD is cuffed to a chair once again, looking even more annoyed than the last time he was in an interrogation room. They’ve gone as far as strapping him to the chair this time, he rattles his wrists impatiently.

ICHABOD: I was assured that I would be able to speak with an Officer Mills and would be released once he verified my innocence. Who was the woman that came into my holding cell earlier? Who precisely are you [eyes the evaluator speculatively] and what are you doing?

EVAL: [finishing hooking everything up] This is a polygraph machine, Mister Crane.

ICHABOD: _Captain_ Crane. What is a _polygraph machine_ and what purpose does it serve? Do you intend to torture me into confessing to a crime I did not commit with this polygraph machine? I assure you, I have undergone some of the harshest training under General Washington, you will not force any kind of confession from me.

EVAL: [calmly] I’m Dr Adam Kootz. I’m the on-staff psychological evaluator. And the polygraph works like this: I ask you a series of questions. You answer them to the best of your knowledge. The machine lets me know if you’re lying or not. I judge your reactions to questions while you answer them to determine if you need to take a trip to Tarrytown for further evaluation.

ICHABOD: [perplexed but curious] The… the machine lets you know? How about I be permitted to ask a few of my own questions… _What the hell is this place? Where the hell am I?_

KOOTZ: I’m going to start with a few simple questions… answer them with yes or no. If everything goes well, you have a really good chance of walking out of here a free man. [ICHABOD nods quietly] Is your name Ichabod Crane?

ICHABOD: Yes.

KOOTZ: Were you detained last night?

ICHABOD: Yes.

KOOTZ: Did you murder Sheriff August Corbin?

ICHABOD: No.

KOOTZ: [looks at the machine, nods lightly] I’m going to ask you some more questions, you do not have to limit yourself to yes or no… Just give me answers that, to your knowledge, are honest. [ICHABOD swallows hard and nods] Where are you from? How did you come to be in Sleepy Hollow?

ICHABOD: [takes a deep breath and sighs] I was born in Edinburgh, Scotland but I was sent to schooling in London, England. I was a professor of History at Merton College, Oxford until my childhood friend convinced me to enlist in the Royal Regiment and we were sent to the American Colonies to fight against the patriot uprising. However, once here, I had a change of heart and deflected.

KOOTZ: So, you’re saying you’re a spy?

ICHABOD: I very clearly stated I _deflected_, in what way would that imply that I am a spy? Just because one has a change of heart and chooses to fight for a much more worthy cause does not mean--

KOOTZ: Just answer the question. Are you a spy?

ICHABOD: [frustrated sigh] I am under the direct command of General Washington.

KOOTZ: General George Washington?

ICHABOD: [tilts chin up stubbornly] Yes. I take it you’ve heard of him? I was given orders to take down the Horseman no matter what it took.

KOOTZ: I guess you could say I have. Don’t know of many people who haven’t heard his name. Why don’t you tell me what you know about this Horseman? Do you admit to cutting his head off? Yes or no?

ICHABOD: Yes… _but_ only after a had first shot him in the chest. When he rose back up, beheading him seemed the next logical step. Before I did so, he managed to land a blow with his axe… [touches his chest, confused]

Scene flashes to on the other side of the interrogation window. ABBIE looks up at IRVING.

ABBIE: Corbin didn’t have a gunshot wound. 

Scene returns to inside the interrogation room.

KOOTZ: Then what happened?

ICHABOD: I fell… I was… dying. I was taken to triage at the encampment. Katrina was there…

KOOTZ: Who is Katrina?

ICHABOD: My wife. She is a nurse in the 37th regiment. I must have… lost consciousness. Next I knew I woke up in a cave.

KOOTZ: So you have absolutely no memory of what happened between now and then? No rational reason why you think there is a headless horseman running around Sleepy Hollow killing people? How exactly did you end up here, Captain Crane?

ICHABOD: Perhaps I could tell you if I knew exactly where the hell _here_ is. Now, I have questions. Several thousand questions. But I will spare you the indignity of being strapped down to a chair! [His eyes glow a bright blue and his voice takes on a deep, fierce tone] _Where am I_?

KOOTZ sits up straight in his seat, mouth hanging open slightly. ICHABOD stares hard at him, panting. Scene flashes to ABBIE. Her eyes have turns pitch black. She stands stock still. Scene returns to the interrogation room. ICHABOD’s eyes fade back to normal and he eases back in his seat. Scene flashes to ABBIE, showing her own eyes return to normal.

KOOTZ sits there in awe for a moment, then shakes his head to clear it.

KOOTZ: The question it seems, Captain, isn’t _where_ you are. It’s _When_... The good news is… [pulls out his wallet] You won the war. Bad news is… [pulls out a dollar and slides it across the table] It was 250 years ago. Welcome to the 21st Century Captain Crane.

ICHABOD blinks at KOOTZ in disbelief but picks up the dollar to look at it. 

ICHABOD: [confused] _I beg your pardon_?

Scene jumps for a little, KOOTZ is in the viewing room with ABBIE and IRVING. KOOTZ is standing with IRVING, away from the window. ABBIE is standing at the window in the background, watching ICHABOD pace restlessly, no longer cuffed up, in the interrogation room.

KOOTZ: Not a single damn spike. They could set him up for an insanity defense easy. But St George’s would have to do a full 72 hour on him first. [In the background, ICHABOD stops in front of the window, finger in the air, mouth open as though he is about to say something. He closes his mouth and balls up his fist then goes back to pacing.] Please tell me you saw that thing with his eyes?

IRVING: Could be drugs, maybe? 

KOOTZ: [stares at IRVING a long moment] Yeah that’s a possibility. A drug screening will be part of his evaluation. We can do a thorough one. Make sure no stone goes unturned.

We get a close up of ABBIE’s face as she stares at ICHABOD pacing. Her expression turns pained. Everything goes silent, and suddenly we’re back in a flashback with ANGELIC!ABBIE and bound ICHABOD. It is now just the two of them.

ANGELIC!ABBIE: Why would you betray me like this, My Light?

ICHABOD: I would never… You are my Queen. You are my Goddess… I would never… I was lured into a trap… so that it would seem like I had betrayed you. But I would never…

ANGELIC!ABBIE: Stop saying that! Everything stands against your plea of innocence!

Scene returns to modern day. ABBIE turns to IRVING as KOOTZ leaves the interrogation room.

ABBIE: Sir, permission to interrogate him myself?

IRVING: Absolutely not. Dr. Koots wants a full evaluation done on him. He could be dangerous.

ABBIE: When I was speaking to him earlier, he described the man that killed Corbin in detail…

IRVING: He described a man without a head, Lieutenant? You’re saying a headless horseman killed the sheriff? You willing to go on record with that? Are you willing to be submitted to an evaluation of your own? [ABBIE stares at IRVING for a long moment then shakes her head] I didn’t think so.

ABBIE: Then let me be the one to drive him over. I can keep my questions to the 20 minutes it takes to get to St George’s.

IRVING: No. Now go home and rest, Lt Mills. That’s an order. I don’t want to see you for at least 72 hours.

ABBIE: Fine. I’ll go… after I take him back to his cell.

They both turn at the sound of knocking on the window. ICHABOD is looking around the window curiously.

ICHABOD: Pardon me… but I fear I may be _hangry_ once again.

IRVING: [looks at ABBIE] Have fun with that.

IRVING walks out. ABBIE takes a deep breath and goes into the interrogation room. ICHABOD turns to stare at her. He blinks slowly, as if in awe.

ABBIE: Captain Crane. I’m Lt Abbie Mills. [She walks over and puts him in cuffs]

ICHABOD: A female Lieutenant? In which army? [Looks down at her curiously as she leads him out of the room] You’ve been emancipated, I take it?

ABBIE: [Looks up at him like she is about to smack him] Excuse me?

ICHABOD: From enslavement? The gentleman said it had been 250 years. I take it the Abolitionists were successful in their pleas to make certain _all_ people were free?

ABBIE: My folks have only been free for about a hundred and fifty years. Sorry, but ya boys cared more about their profits than making sure anyone other than white men were free.

ICHABOD: Well that’s disappointing. I thought for certain I had managed to convince enough men to vote in favour… I wrote a very strongly worded missive to Thomas Jefferson regarding--[Scene focuses on ABBIE but ICHABOD is still very much still talking in the background]

ABBIE: [steps up to a desk] Hey Veronica… I have to transport this one over to St George's, my cruiser is in the shop again. [wrinkles her nose cutely] Can I get cruiser 87, pretty please?

VERONICA: [smiles sweetly and hands ABBIE a clipboard] Of course you can. [plucks a set of keys off a wall behind the counter as ABBIE scribbles on the clipboard] Here you go…

ABBIE: [hands over the clipboard as VERONICA hands her the keys, gives her a quick wink] Thanks.

VERONICA: [sweetly] Don’t mention it.

ABBIE points ICHABOD toward the main doors. She glances back at VERONICA, who gives ABBIE a cute little wave before ABBIE walks out the door. ABBIE has a small grin on her face until we finally pick back up on what ICHABOD is saying. Yes, he’s been talking this entire time, seemingly oblivious to what has been going on around him.

ICHABOD: I thought, for certain after I visited his home and we spoke at great length that I had convinced _him_ at the very least… Where are we going?

ABBIE: We’re taking the long way back to your cell. Let’s get a couple things straight… You see the gun on my hip?

ICHABOD: [looks down] I do…

ABBIE: I am authorized to use it on you if you so much as step one toe out of line. [stops next to a cruiser, looks up at ICHABOD] Understood? [He nods, she opens the passenger door] Get in. [She goes around and gets in the driver’s seat] You said you woke up in a cave… Do you remember how to get there? Did you see any signs telling you which road you were on?

ICHABOD: Whilst in route, Officer Brooks told a voice that he was on... 117. I had travelled from the north west.

ABBIE: That’s out near Oglesby’s farm. We'll go out that way, let me know if you see something familiar.

Scene changes to a concert venue in an undisclosed location. View pans around the outside of the venue, there are people everywhere cheering and holding signs that say things like “I [heart] CYNDI PRIDE!”. View pans through the doors of the venue and through the empty auditorium and focuses in on a solitary woman on the stage at a microphone. She is CYNDI PRIDE, a lovely, adorable, petite black woman dressed to be SEEN and perhaps even EXPERIENCED with the simplest meeting. Everything about her radiates Pride and Grace in who she is, her poise says she is 100% unapologetic about that fact.

Her band is warming up, they are doing a sound check. Her eyes are closed and she hums softly as she sways to the music.

CYNDI: [into the mic] y’all ready? [shows folks at the sound equipment, they give her a thumbs up, CYNDI turns to her band] Let's go girls.

The band begins to play Heroes by David Bowie. CYNDI sings it flawlessly and beautifully. During the second verse a bright light comes from the direction of the entry doors. However the doors haven’t been opened. It’s just MICHAEL making her entrance. MICHAEL is still in the pretty blue dress from earlier and slowly makes her way toward the stage, smiling softly as CYNDI sings. When the song/sound check is complete, MICHAEL claps, CYNDI looks at her and beams happily, jumps down off the stage and runs to MICHAEL to hug her.

MICHAEL hugs CYNDI in response.

CYNDI: [pulls back slightly] Just as beautiful as always. [face saddens] I heard about Gabriel. I felt his death in my soul. [cups MICHAEL’s face] Are you okay?

MICHAEL: [smiles softly and nods] My brother has already moved on to their next incarnation. They will rise again and stand at our Goddess’s side. Walk with me. [The two link arms and walk away from everyone else] How have you been Pride?

CYNDI: [beams happily] Serendipitous. What brings you to my humble auditorium?

MICHAEL: Speaking of siblings… [CYNDI’s eyes light up] I need you to get the Sins together. [nods gently when CYNDI bounces happily] The Goddess is awakening. She needs Her angels to tell mankind She has come.

CYNDI: [puts her hands over her heart and closes her eyes, holding back the emotions she is feeling] Is it for real this time, Michael? And you want _me_ to be the one to get them all together? You know Envy isn’t in the best of health these days. She tries… but these mortal bodies aren’t what they used to be.

MICHAEL: When the time comes, she will give her grace to her heir. She just needs convincing. The Sins need to be at their strongest so their voices can reach the Goddess.

CYNDI: Which means we need to all be in our primes. [nods] I’ll start with Greed. She won’t come out of retirement unless she knows, without a doubt...

MICHAEL: Why do you think I came to you first? You’re the only one I trust can convince her.

CYNDI: [softly] What was it like? Feeling the Goddess beginning to awaken?

MICHAEL: Frightening. Jegudiel was confronting Her. 

CYNDI: Jegu-- I thought you and Selaphiel… Does that mean…

MICHAEL: [smiles and nods] Our father has also begun to awaken. Once they meet, it will only be a matter of time before they rise together and return our world to its former glory. If only we can keep Lilith and the others at bay. Which is why the Goddess needs The Sins. Not only will your voices bring Her joy, but mankind will be inspired to fight against those who would have Her remain hidden away.

They stop walking and face each other, holding hands.

CYNDI: Praise be to the Goddess. She will rise.

MICHAEL: Of that I have no doubt. I must go for now. I have to keep vigil over the Lord and Lady to keep them safe. May the Goddess smile upon you, Pride.

CYNDI: And also you, Michael. Give Raphael and the others my love.

The two kiss each other's cheeks and hug one last time. Michael steps back and disappears in a soft flash of light. CYNDI stands there smiling softly for a few seconds before turning to jog back to the stage.

CYNDI: Alright, my darlings. I know you sounded absolutely beautiful and flawless but let’s do another check and this time… put your entire heart and soul into it. Like our very existence depends on it.

-end ACT 2-

**ACT 3:**

Scene opens on ABBIE and ICHABOD entering the cave ICHABOD woke up in. ICHABOD is still in handcuffs. Despite this, he still turns and offers his hands to help ABBIE down the last steps. ABBIE stares at his hands for a second before holding up her flashlight and turning it on. ICHABOD’s head jerks back at the sudden flood of light and watches with curiosity as she goes down the final steps without assistance.

ABBIE: I’m good, thanks.

ABBIE begins to walk around, looking at everything with her flashlight. She takes out a recorder and pushes a button.

ABBIE: Entering the cave from the North, there are carvings on the walls. [squints] The markings appear to be some kind of cuneiform. Possibly Sumerian. Approximately twenty feet from the entrance is a pit full of clay and loose soil. Around the pit are… two three… six shattered jars. There are other jars around the pit that appear to be full of some kind of unidentifiable liquid. We’ll have to get a hazmat team in here to extract them and test the contents… [Ichabod kneels down near the pit and starts digging] Hey, what the hell… you can’t… [He pulls out an old, dirt covered Bible] What’s that?

ICHABOD: It was buried here with me… I must not have seen it initially when I awoke. 

ABBIE: Because you were disoriented? [into recorder] let the record show an old Bible was recovered from the pit. [to ICHABOD] By the way, don’t touch another damn thing. We don’t need you contaminating the evidence. [indicated with flash light] Move away from the pit before you mess anything else up.

ICHABOD hugs the Bible to his chest and moves away from the pit. He eases down to the ground and carefully opens the Bible.

ICHABOD: There are some verses marked… [reading] These are the two olive trees and the two candlesticks standing before the God of Earth. And if any man will hurt them, fire proceedeth out of their mouth, and devoureth their enemies: and if any man will hurt them, he must in this manner be killed. These have power to shut heaven, that it rain not in the days of their prophecy: and have power over waters to turn them to blood, and to smite the earth with all plagues, as often as they will. [He looks up at ABBIE] It’s verses concerning the two witnesses… 

ABBIE: [nods] I’m familiar with it. They get killed, everyone rejoices… and then after three and a half days they rise and then all Hell breaks loose. My mentor… Corbin. He was all wrapped up in conspiracy theories and religious symbolism and the like when he was alive. He did it for fun. What else is marked?

ICHABOD flips a couple pages.

ICHABOD: It’s mostly passages from the Book of Revelations… And there before me stood a white horse. And it’s rider held a bow. And his name was Death…

ABBIE: Are you suggesting my mentor was murdered by one of the Horsemen of the Apocalypse?

ICHABOD: This Bible was buried with me for a reason. These verses marked _for a reason_. When I was ordered to the field, it was by George Washington himself, after our forces had been ambushed by redcoats. He explained to me that my involvement held the fate of every man woman in child. That I was to fight an unknown mercenary, known only by the mark upon his hand. The mark of a bow.

ABBIE: [shakes her head, flashes of her childhood with the white trees and the demon] No. No. This is insane. Field trip is over. Let’s go. We’ve been out here long enough. 

ICHABOD: It’s _insanity_ makes it no less real. The horseman didn’t die when I beheaded him on the battlefield...

ABBIE: Listen, your conspiracies and stuff may have been a big deal back in your day, but this is the modern age. We believe in things like facts and--

ICHABOD: The facts are right in front of you, but you are refusing to see them. What if… the two of us are the foreseen witnesses? Why is it hard for you to accept the idea that the horseman is Death incarnate?

ICHABOD stands, hugging the bible to his chest as he steps closer to ABBIE, she tilts her head back to face him sternly, squarely. There is tension between the two as they stare each other down. After a moment, ICHABOD shrinks back, he slowly kneels down, his eyes glimmering like blue fire for a moment as ABBIE keeps her eyes locked with his. He searches her face.

ICHABOD: [whispers, voice trembling] Who are you? [He appears to be struggling to catch his breath for a moment] _What_ are you?

ABBIE: [shakes her head to clear it] I am Lieutenant Abbie Mills of the Westchester Sheriff’s Department. And I already told you, this trip is over, let’s go _now_. Come on. [nods toward the entrance] 

ICHABOD scrambles to his feet and heads out of the cave, ABBIE behind him. When they reach the cruiser, ICHABOD turns to look at ABBIE.

ICHABOD: Lieutenant Mills. I fear the Headless Horseman has returned to finish what he started all those years ago… the end of the world as we know it.

ABBIE: [looks off into the distance, emotion on her face] Just get in the cruiser.

There is a short time lapse, Scene changes to outside KNAPP’s church. He is walking around, touching the exterior walls and murmuring to himself. He throws something that looks suspiciously like salt on the ground near the wall. It is dusk, darkness is slowly settling in. He stops suddenly and slowly turns toward a figure that has cast a shadow over him.

KNAPP: [standing straight and with an honourable aire] If you think I will tell you were it is, you are a bigger fool than we could ever fathom, Jegudiel.

Pans around to show HEADLESS, standing near the street, axe in hand. Pans back to KNAPP, his fingers are flicking restlessly at his side like a gunslinger getting ready to grab his pistol. Pans back to HEADLESS as he steps forward. Pans back to KNAPP as he summons heavy iron chains to his hands.

KNAPP: I’ve imprisoned you before. I can do it again. The rebellion _will not_ win. You and your false gods… your false prophecies will not come to fruition.

The chains lash out and wrap around the axe, yanking it out of Headless’s grip and pinning it against the church wall. HEADLESS continues to lumber forward. KNAPP gestures with his hands and the chains wrap around Headless’s ankles and knock him to the ground. KNAPP summons the axe to his own hands, leaps into the air. His wings furl out majestically as he falls, landing square on HEADLESS’s chest. The ground trembles and dust kicks up.

As the dust settles, you can see KNAPP, glowing with a warm heavenly light, standing with a foot upon HEADLESS’s chest.

KNAPP: Only The Goddess has the power to destroy you and She has Her weapon. Repent now, while you still have the chance… brother. You know Our Holy Mother will not be as forgiving as your brothers and sisters. She does not take betrayal lightly.

Pans to HEADLESS’s hand as it barely touches a bit of chain that is laying on the ground close to him. Pans to KNAPP’s stunned face as the chain begins to glow dark red.

The chains wrap around KNAPP's waist and throw him against the wall. He crashes to the ground. 

KNAPP: I'm prepared to die if I must. I will be reborn… Of that much I am certain. [Slowly climbs to his feet] You will not be so fortunate.

Pans to HEADLESS, now standing with his axe in his hands. KNAPP summons chains again as HEADLESS throws his axe. The axe slices through the chains like they're butter and continues to soon toward KNAPP. 

Scene goes dark as the sound of metal hitting brick rings through the darkness. There is the sound of a heartbeat. Scene flashes to MICHAEL, running down the street towards the church. She is clutching her chest, tears streaming down her face.

MICHAEL: Selaphiel! [She keeps running toward the church] SELAPHIEL! 

She rounds the corner of church, after a moment she comes to a stop. It pans to show KNAPP's feet sticking out from behind some bushes near the church wall. MICHAEL slowly steps forward then covers her mouth with her hand to hold back a sob.

MICHAEL: [kneeling slowly at the feet] No… no no no no… [touches one of the feet then wails loudly]

Scene goes to ABBIE and ICHABOD in the cruiser. They seem to be rolling through town. ICHABOD is staring, wide eyed out his window. He keeps lowering and raising the window looking incredibly delighted. He looks toward ABBIE to see if she sees what the window is doing.

ABBIE slowly looks at him and takes a deep, calming breath.

ABBIE: Can you please not do that?

ICHABOD's face falls slightly but he stops playing with the window. He sighs and sits straight in his seat. This lasts only for a brief moment as they make it into town and he starts looking at everything.

ICHABOD: That was once a livery stable…

ABBIE: Well, now it's a Starbucks.

ICHABOD: Wh… what is a Starbucks?

ABBIE: It's a place that makes specialty coffee.

ICHABOD: I tried coffee once. It was horrible. [ABBIE snorts lightly and manages a small smile, ICHABOD looks confused for a moment] That is another Starbucks…

ABBIE: What can I say, we love our coffee these days. Once you get out of St George's, you should stop by one and get one. Maybe it will change your mind about coffee.

ICHABOD: It is my hope, once I awaken in the morning, I will be home and all of this will have been a very odd and unpleasant dream. [tentatively] Much like you wish whatever happened to you would be. [ABBIE stares straight ahead] The way you become confrontational says this situation with your mentor is not the first time you have had a run in with the supernatural. [He glances at ABBIE and she is still staring straight ahead, quiet] I too have had instances in the past, instances that would make others think I was insane if they knew the truth. Long before meeting the horseman on the battlefield. Things I could not explain and defied logic... I wish I could say it was something I imagined but I have the affliction of being able to recall things in perfect detail… 

There is silence for a long spell. ICHABOD sighs and looks out the window.

ABBIE: [quietly] When me and my sister were kids… we got lost in the woods on the way home. [flash of ABBIE’s memory from her childhood] We had taken the way a thousand times but this time… it’s like everything about the woods changed around us. [another flash of ABBIE’s childhood, Young ABBIE and her sister looking around in confusion] Then suddenly there were these… four white trees… 

YOUNG!JENNY: (voiceover) Abbie, what’s that? 

YOUNG!ABBIE: (voiceover) I don’t know… Stay close, Jenny…

ABBIE: And there was this… creature…

Scene flashes to YOUNG!ABBIE and YOUNG!JENNY. They are in the woods and there are four white trees. A demon-like creature is in front of the trees, hunched over something on the ground. As they approach, the demon lifts its head and stares at them. Pans to YOUNG!ABBIE and YOUNG!JENNY, they look terrified but YOUNG!ABBIE has situated herself in a position to protect YOUNG!JENNY.

YOUNG!JENNY: Abbie… [tugs on ABBIE’s arm] Abbie, come on, let’s get out of here… We need to run!

YOUNG!ABBIE’s eyes turn bright yellow and she picks up a fallen tree branch. YOUNG!JENNY can be heard yelling, asking ABBIE what she’s doing. YOUNG!ABBIE stomps toward the demon.

ABBIE: (voiceover) My sister said some things happened but I don’t remember them because I just sort of blacked out… She said I approached the creature, that there was something weird about my eyes… and that out of nowhere I was holding this… sword…

The branch in YOUNG!ABBIE’s hand morphs into a fiery, gold hilted sword. YOUNG!JENNY can be heard screaming ABBIE’s name. The demon turns toward YOUNG!ABBIE and starts lumbering towards her.

ABBIE: (voiceover) She said I fought this… demon… creature thing… and almost won. But then…

YOUNG!ABBIE and the demon fight, she seems to have the upper hand until the demon takes a hard swipe at her, making her fly back, knocking into YOUNG!JENNY. Both girls remain on the ground unconscious.

Scene returns to modern day. ABBIE is still staring straight ahead as she drives.

ABBIE: We don’t know how long we were unconscious. But When we woke up, everything was back to normal… no demon, no white trees… and Mr. Oglesby found us. Said all of Sleepy Hollow had been looking for us for three days. We were… questioned by the police department. Jenny told them everything. Every. Last. Detail. But I refused. I stayed quiet because I remembered what happened to my mama when she started talking about demons and want-not… Jenny was a little too young to understand. I didn’t want to be sent to St George’s.

ICHABOD: What became of your sister?

ABBIE scowls as they come up on several police cars outside the church she visited with AUGUST. She pulls over, putting on her lights as well. She gets out of the cruiser and walks up to the police line. There are several officers and investigators sweeping the scene. NURSE LATISHA is with a small, elderly woman (GRANNY) in a motor scooter. The elderly woman is wearing the same dress as MICHAEL, she is wailing dramatically to IRVING as little grandmas are wont to do.

GRANNY: He went that way [points off in a random direction] on horseback. The creature was breathing fire! I thought the devil had finally come to claim my soul…

IRVING: [looks dubious at best] And she says he was wearing a red colonial style coat?

ABBIE: [approaching IRVING] Captain…

IRVING: Not now Mills… Unless you can tell me why someone would want to decapite a goddamn reverend. 

LATISHA: That’s what she said, Mister Irving. 

IRVING: [to LATISHA] Thank you, ma’am… we have her statement, you get her back to the nursing home for care. 

LATISHA: I’ll be at work if you have any more questions…

IRVING: [waits for LATISHA to guide GRANNY away] We got alot going on right now, Mills. Our guy from last night went missing from his cell and we can’t figure out how the hell it happened because no one saw a damn thing and apparently all the security cameras went down. And now we have another decapitation… same MO as before. Guy in a colonial style red coat. The wound is cauterized.

ABBIE: I can already tell you it wasn’t the guy from last night.

IRVING: And how is that? [ABBIE looks toward her cruiser, IRVING looks that way too, and sees ICHABOD frantically trying to figure out how to get out] What the hell…?

ABBIE: He’s been with me all day, hasn’t left my sight.

IRVING: I thought I told you to go home, Mills. You took a suspect out of custody without permission and disobeyed a direct order. Give me one good reason to not suspend you right this second.

They both look back toward the cruiser when there is the sound of a body hitting the ground and a pained groan. ICHABOD bolts to his feet having just fallen out of the cruiser.

ICHABOD: I’m okay… [hurries over to ABBIE] I managed to let myself out of your carriage despite wearing these manacles…

ABBIE: [looks up at IRVING] Corbin came to talk to reverend Knapp before he was murdered. What if the two are connected? I think Captain Crane could help. He’s obviously familiar with the assailant and his motives…

ICHABOD wanders off, suddenly interested in a bird that starts cawing at him.

IRVING: [watching ICHABOD wander off] That man needs to be at St George's. If you take him there and go home and get rest like I ordered, _maybe_ I won’t suspend you. Which would be a damn shame considering you’re so close to leaving us… Wouldn’t look good on your FBI paperwork, would it?

ABBIE: No sir, it wouldn’t.

IRVING: St George's is ready to receive him as soon as we found him. Now go. We’ll take care of all of this. Looks like we’ll have to find the real culprit since your boy has been cleared. See you in two days, Lieutenant.

ABBIE looks forlorn as IRVING walks away, back toward the scene. She looks toward where ICHABOD wandered and sees him knelt down in front of a tombstone. ABBIE walks over as he’s touching the name on the tombstone: Katrina Crane. Just below the name is “Burned for witchcraft.”

ABBIE: Someone you know?

ICHABOD: My… wife.

ABBIE: My condolences. But we need to go. Before I lose my job. [ICHABOD looks up at her and then nods as he stands. He looks back at the tombstone as they walk away] If anything you can take consolation in the fact that her name was on the grave. From what I understand most people burned for witchcraft didn’t get the privilege of being buried in a church graveyard, much less be identified with a marker.

ABBIE puts ICHABOD in the backseat of the cruiser then goes around and gets into the driver’s seat. ANDY comes over.

ANDY: Do you need help getting this guy to St George’s?

ABBIE: I’ll be fine, Andy. He’s not a threat. 

She lets up the window and drives off.

There is no sound in this part of the scene except that of the background music which is: Lost by The Cranberries (give it a listen here: https://youtu.be/_y8gNZYR3HM )

After a while they pull up outside of St George’s Psychiatric Hospital. ABBIE gets ICHABOD out of the cruiser and walks him up. Everything moves in slow motion as she escorts him down the main hallway of the hospital. The scene suddenly changes to ANGELIC!ABBIE escorting ANGELIC!ICHABOD down a long dark corridor with an army of soldiers and angels behind them. The angels and soldiers all appear blurry and unfocused. Scene changes back to modern day. ABBIE is filling out paperwork and talking to a doctor while ICHABOD sits close by in a chair looking off into the distance, lost in thought.

Scene flashes back to the angels. ANGELIC!ICHABOD is on his knees on the ground while ANGELIC!ABBIE takes the bone blade from an elaborate box. It morphs into an axe that looks exactly like the one the horseman uses. Scene goes back to modern day. ABBIE turns to look at ICHABOD while handing the paperwork to the doctor. She walks over and removes the cuffs and gives him an apologetic look.

Scene returns to the angels as ANGELIC!ABBIE approaches ANGELIC!ICHABOD, tears streaming down her face. The soldiers restrain him but he doesn’t put up a fight, just keeps his eyes locked with hers. Scene returns back to modern day, a doctor is gently guiding ICHABOD toward a door. He looks back at her, looking forlorn.

The background music fades as it returns to the angels. ANGELIC!ABBIE stands to ANGELIC!ICHABOD’s side. The SOLDIER!ANDY unrolls a cloth scroll.

ANDY: You have been found to be suspected of conspiring against the Goddess and attempting to incite rebellion against Her. Your punishment is to spend eternity in a series of mortal lives until you convince Her of your innocence. Do you accept your punishment?

ICHABOD: [looks up at ABBIE] If that is what it takes to prove my faith to Her. I will gladly live a thousand mortal lives.

A few of the soldiers and other angels exchange looks and whisper amongst themselves as ANDY and one of the other soldiers extend out ICHABOD’s wings. ABBIE raises the axe then swings it downward. Scene goes black, ICHABOD’s pained scream can be heard.

Returns to modern day. ABBIE watches as ICHABOD is taken down the corridor, through a glass window. He is still looking back at her. Goes back to angels. The Soldiers are trying to hold up a visually despondent ICHABOD. His wings are laying on the ground. ICHABOD lifts his head. He searches her face but her expression remains impassive and stern.

ABBIE: Leave him for now. Stand guard until we cast him out in the morning.

The Soldiers file out and stand gaurd. ABBIE walks down the corridor alone until she reaches a vast and beautiful garden. She goes and stands in front of a tree, falls to her knees and begins to cry. Everything around her begins to wither and die, spreading quickly.

Returns to modern day. ABBIE turns to leave. She wipes at the corner of her eye and then looks straight ahead, her eyes are black. NURSE LATISHA is coming into the building as ABBIE is leaving. LATISHA turns and watches ABBIE leave, mouth open in shock. There is a quick recap of all the angelic scenes, without the background blurred. This time it is very clear that LATISHA is amongst the numbers--an angel carrying a staff with the doctor’s snake and wings symbol on it. MICHAEL is also among the numbers as well as SELAPHIEL. 

Returns to modern day. ABBIE climbs into the cruiser. LATISHA comes out to stand on the steps of the facility and watches her drive off. After the taillights disappear into the distance, LATISHA removes a necklace from her pocket and kisses a charm of Archangel Raphael. 

-end scene-

**ACT 4: shown in tandem with the credits.**

Scene opens on ANGELIC!ABBIE striding down the long, darkened corridor, flanked by MCHAEL, RAPHAEL, and SELAPHIEL. They come up to ANDY, who is standing guard at the door.

MICHAEL: You are dismissed.

ANDY: But…

ANGELIC!ABBIE: He has had time to fear his fate. Now I will torture him for information on those who seek to destroy me, before we throw him out.

MICHAEL: You would defy the orders of your Goddess, Crowley?

ANDY: [shakes head] Of course not.

He hurries away. ANGELIC!ABBIE enters the chamber and swings the heavy iron door closed behind her. MICHAEL, RAPHAEL, and SELAPHIEL stand guard outside the closed door. 

Scene goes inside the closed chamber. ANGELIC!ABBIE approaches ICHABOD, who is sitting cross-legged in the middle of the room. A warm light seems to radiate from him. His eyes open and he slowly stands as ANGELIC!ABBIE walks up to him. They hold each other's gaze for a long moment.

They lunge toward each other, kissing deeply when they meet. Her fingers go into his hair, clinching and pulling on his hair. After a moment they break the kiss and ICHABOD tests his forehead against hers. They pant for breath.

ICHABOD: I fear they underestimate my loyalty and faith in my Goddess.

ANGELIC!ABBIE: Just as they underestimate my faith in you, my Light. [She closes her eyes and shakes her head as she strokes his cheek, voice wavers] You are my heart. My heart would never betray me.

ICHABOD: [softly] I will find you again and again. I will remain faithful. 

ANGELIC!ABBIE: Of that, I do not doubt.

They kiss again and the scene fades out

-End Episode-


End file.
